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God Vinyl, CD & Tape 14 Items

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Morton Feldman - For Bunita Marcus
Morton Feldman
For Bunita Marcus
2LP | 2015 | EU | Original (God)
35,99 €*
Release:2015 / EU – Original
Genre:Organic Grooves
Morton Feldman, composition. Lenio Liatsou, piano.In the 1980's, Morton Feldman composed two large-sized pieces for his favourite instrument, the piano. Both pieces, "Triadic Memories" (1981) and "For Bunita Marcus" (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to: "Triadic Memories" demonstrates the complexity and tonal opulence of Feldman's pattern compositions from 1977 through 1983, whereas "For Bunita Marcus" shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described For Bunita Marcus as a piece in which he "seriously grappled with the idea of meter"."I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation I'm close to Stravinsky; that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. For Bunita Marcus is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and thefive-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on." Exceprt from liner notes by Sebastian Claren.
Hsin-Huei Huang - Solo
Peter Ablinger - Voices And Piano
Axis: Sova - Motor Earth
Opcion - Monos / Und
Opcion
Monos / Und
LP | 2016 | EU | Original (God)
15,39 €* 21,99 € -30%
Release:2016 / EU – Original
Genre:Electronic / Dance
Monos / Und is Opcion's debut album under this moniker, released on the austrian vinyllabel for contemporary music God Records.The first side Monos offers three solo works of heavily processed and composed noise, accompanied with harsh beats.On the second side Und he joins forces with Maja Osojnik, Bernhard Loibner and Kurt Bauer, to create three works based on improvisational recordings which were later edited to become fully constructed pieces.Maja Osojnik, electronics, paetzold. Bernhard Loibner, electronics. Kurt Bauer, violin. Original cover artwork by Michalis Pichler.
Alvin Lucier - Dark Matter
Alvin Lucier
Dark Matter
LP | 2015 | EU | Original (God)
19,99 €*
Release:2015 / EU – Original
Genre:Electronic / Dance
"Still and moving lines of silence in families of hyperbolas" (1984) for flute with pure wave oscillators. "13 degrees of darkness" (2013) for two flutes or flute and pre-recorded flute. "Double Himalaya" (2012) for glissando flute and pre-recorded tape.Manuel Zurria, flute, Erik Drescher, glissando flute.
Winfried Ritsch - Woodscratcher
Winfried Ritsch
Woodscratcher
LP | 2010 | EU | Original (God)
11,99 €*
Release:2010 / EU – Original
Genre:Organic Grooves
This release turns out to be the best way to celebrate little GODrec anniversary: the tenth release of the label!Woodscratcher (Scratching Wood) is a composition and sound generating machine from Austrian composer, media-artist, sound-sculptor and performer, Winfried Ritsch. Already known as collaborator in different projects with Bernhard Lang (pieces from his series Differenz/Wiederholung, Trike), Peter Ablinger (Klavierautomat), Ritsch created "my own dedication to noise pieces of experimental music from 70s onwards".This machine cuts a 2-5cm thick disk of a wooden trunk in a circular line along the growth rings of the wood, which makes this nothing else then monumental turntable. At the same time, the wood is amplified with four pickups (sensors) and the signals picked from microphones are spatialized over four loudspeakers in the corners of the room which spans acoustically the slice of the wood. This scratching in the concert is done until the inner part of the disk falls to the ground and the piece ends. The movement of the cutting tool behaving like an over-sized record player needle, has the performing function and is an allusion of the production of records, as well as playing them. The woodscratcher pretends to extract and play the information which resides in the piece of wood cutting it in an excessive performance. The wood is heard as acoustic material with inhomogeneities annual rings by superimposing a loops of the cutting process. With the progression of the cutting process the sounds evolves of the pieces in more and more rubbing and squeezing sounds. The audio signal filter functions of the wood is heard like repeatedly changing formants, almost imaging voices in the noise. Composition : With this performances not only the machine as performer is broached as the issue, also the exploration of unknown material is an artistic statement as also defining the structured and timing of the piece. The aesthetics lies in the excessive performance beyond feasible by a human actor or musician and also, links the many possible associations and associative to the world of music performance. One of them is the sound based on the noise of the experimental music pieces since the 70s and another with ideas of Herbert Bruen's computer music project sawdust from that time, when the rejection of oscillators as a tone generator for free definition of single events down to the scale of samples as a liberation of note-oriented Music generation.The transition in algorithmic composition to the composition of processes as instrument like done in live composition is expanded to the construction of a mechanical machine which is the live composer. The main aspect of this is that the process does the composing and the machine is composed for executing the process of extracting the piece out of the disc of wood, destroying it and defining the audible result of the piece. So composer becomes a mechanical engineer and inventor of machines and the musician the operator as machinist.The picture vinyl release is vinyl simulation of woodscratcher: a vinyl record has a picture of a wood on itself and recorded sound of scratching the wood.
Bernhard Lang - Monadologie
Bernhard Lang
Monadologie
LP | 2013 | EU | Original (God)
15,99 €*
Release:2013 / EU – Original
Genre:Organic Grooves
Klangforum Wien. Johannes Kalitzke, conducting. Anders Nyqvist, trumpet. Olivier Vivarès, clarinet. Gerald Preinfalk, saxophone. Christoph Walder, horn. Andreas Eberle, trombone. Uli Fussenegger, double bass. Krassimir Sterev, accordion. Björn Wilker, percussion. Adam Weisman, percussion. Florian Müller, piano.For the second time, rocked Bernhard Lang basis of GODrec, delivering his ultimate piece from Monadologie series Monadologie XII, for ensemble. Unlike the previous release (Tables Are Turned, with Philip Jeck), Monadologie XII is nothing less than a blast: a three-part concerto for ensemble with occasional saxophone solos and terrific drum parts (watch your ears on the second side of the vinyl!). And all that, in astonishing performance of Klangforum Wien, under the direction of genius Johannes Kalitzke. Together with Differenz/Wiederholung 2, Monadologie XII could definitely be Lang's most jazz-influenced piece up to date and at the same time, one of the biggest quakes in contemporary music of today (more to come)! GODrec is also very proud to welcome Klangforum Wien to the roster, with this to be their first vinyl ever to be released!
Peter Ablinger - Regenstücke Volume 2
Peter Ablinger
Regenstücke Volume 2
LP | 2013 | EU | Original (God)
16,99 €*
Release:2013 / EU – Original
Genre:Organic Grooves
Peter Ablinger, composition. Edo Micic, conducting. Nassir Heidarian, conducting. Isabel Pérez-Requeijo, conducting. Adam Weisman, percussion. Winfried Ritsch, computer controlled pianos. Ensemble Zeitfluss Graz. Bruckner Orchestra Linz."Since Regenstücke Vol. 1 deals with rain aesthetic in pure instrumental form, Vol. 2 shows Peter Ablingers fascination with techniques of field recordings, accompanied by different ensembles and orchestra setups. Ablinger has been exploring different sides and features of nature recordings for a very long time, always achieving new territories and pushing boundaries to higher level. This release represents only a minority of that output.City noise, landscape sounds, rain drops, boosted with powerful instrumentation - simple and almost manifestly.Not forgetting "instrumental raining", Membrane, Regen, as a part of his cycle Weiss/Weisslich, shows concert version of the piece for eight glass tubes - just like hearing eight church bells surrounding your brain...
Bernhard Lang, Philip Jeck & Alter Ego - Tables Are Turned
Bernhard Lang, Philip Jeck & Alter Ego
Tables Are Turned
2LP | 2011 | EU | Original (God)
18,99 €*
Release:2011 / EU – Original
Genre:Organic Grooves
Bernhard Lang, composition. Philip Jeck, turntables. Alter Ego : Manuel Zurria, flutes. Paolo Ravaglia, clarinets. Aldo Campagniari, violin. Francesco Dillon, violoncello. Oscar Pizzo, keyboards. Eugenio Vatta, sound projection.A project by Bernhard Lang and Alter Ego with Philip Jeck for turntables and amplified ensemble, based on the song by Amon Düül 2. TablesAreTurned is the first collaboration between one of the most significant austrian composers of today, Bernhard Lang, and prominent english turntablist Philip Jeck.There is no doubt that mutual interested in loop technique, led to the musical colaboration between two artists, connecting the worlds of academic philosophy with underground aesthetic.Unlike his previous works, where Lang was able to transform an ensemble into a big loop generator (his series of Differenz / Wiederholung pieces, accomplished with magnum opus opera, monumental Das Theater der Wiederholungen/The Theatre of Repetitions), here he is turning into celular automata, generating counterpoint based on the rest of the loops.On the other side, Jeck offers a dozen of low - fi locked grooves, making the perfect extended interludes between powerful ensemble episodes.Premiered at Berlinerfestspiele, but also performed at Wien Modern and Huddersfield Contamporary Music Festival, the piece is now available for the first time in limited double - vinyl edition.
Klaus Lang - Organ Works Volume 2
Klaus Lang
Organ Works Volume 2
LP | 2015 | EU | Original (God)
18,89 €* 20,99 € -10%
Release:2015 / EU – Original
Genre:Organic Grooves
This is part 2 of the works for organ from the composer Klaus Lang. "ABD" (1996) and "Melrose Abbey" (1997), performed by the composer in Graz, Austria, 1997. You will be blasted by the power of the cluster, or captivated by the fine and gentle drone ! Splendid.
Susanna Gartmayer - Aouie
Susanna Gartmayer
Aouie
10" | 2015 | EU | Original (God)
15,99 €*
Release:2015 / EU – Original
Genre:Organic Grooves
Susanna Gartmayer is another important figure in Viennese impro and experimental scene and God Records is very proud to announce her first solo release. "Aouie" is a set of solo pieces for bass clarinet, created as an exploration of polyphonic sound universe. Within interaction of spatial and instrument sound, she uses variety of sounds to produce consistent work dealing with multiple dimensionality and simultaneity of acoustic events.
Gareth Davis & Machinefabriek - Alvin Lucier: Memory Space
Gareth Davis & Machinefabriek
Alvin Lucier: Memory Space
LP | 2015 | EU | Original (God)
22,99 €*
Release:2015 / EU – Original
Genre:Electronic / Dance
Alvin Lucier, composition. Gareth Davis, bass clarinet. Machinefabriek, field recordings and processing."Go to outside environments (urban, rural, hostilc, bcnign) and record by any means (memory, written notations, tape recordings) the sound situations of those environments. Returning to an inside performance space at any later time, recreate, solely by means of your voices and instruments and with the aid of your memory devices (without additions, deletions, improvisation, interpretation) those outside sound situations." Alvin Lucier The central concept behind Alvin Lucier's Memory Space is the representation of another time and place through the use of a new set of sounds. In his instructions, Lucier asks the performer(s) to go to an environment and record by any means (notes on paper, graphics, audio recording or by memory) the sound situations that are present, then, at any later time, in a different space, attempt to recreate that situation. The purpose of the work is to avoid elaboration or embellishment, but given that any action of recreation is still relative, a process of navigation through an excess of material, it becomes an impression, on occasion strikingly clear, at other times lost in a haze, with the very attempt to avoid narrative providing one.
White Fence - White Fence
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